Abstract
From episode one to the final credits, whether the audience saw threatened heroes and heroines, or impossible villains, serials of the 1910s were episodic cinematic entertainment known as ‘cliffhangers.’ Born of sensational melodrama and dime novels, the film serial and the ‘thrills’ it attempted to inspire was a complicated genre, a convergence of narrative forms. Such serials include The Exploits of Elaine (1914), Lucille Love, the Girl of Mystery (1914), The Perils of Pauline (1914), Zudora (1914), The Black Box (1915), The Crimson Stain Mystery (1916), The Iron Claw (1916), The Mysteries of Myra (1916), The House of Hate (1918), and The Trail of the Octopus (1919), among many others. Drawing upon trade publications and industry discourse, this essay explores the extensive influence of these serials on the horror film genre of the 1930s and beyond, examining codes and conventions that range from the supernatural to mad science/scientist, uncanny paintings to secret panels, poisonous concoctions to torture devices.
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